After having worked with Uttam Singh (Gadar â€“ Ek Prem Katha) and Anu Malik (Ab Tumhare Hawale Watan Sathiyo), it is now Himesh Reshammiya who occupies the seat of the music director for this Anil Sharmaâ€™s venture with the Deolsâ€™. At this current point in time, Himesh Reshammiyaâ€™s popularity even exceeds that of Sunny Deol and Bobby Deol. Personality traits and controversies apart, it is his work that counts by the end of the day. Whether the beard has been trimmed or not, whether he will continue to wear baseball caps forever, whether he will still argue with living legends are more about what he is doing and not what he is creating or producing. Those concentrating on his daily schedules, controversies, gestures and facial hair are forgetting that his music has been changing lanes but unfortunately not his singing.
Anil Sharma extracts both hip-pop and traditional music from the composer while Sameer carefully chooses his words. The director is today already in the books of the history of Indian Cinema due to two main reasons. He has to his credit one of the biggest blockbusters of all time with Gadar â€“ Ek Prem Katha and Amrish Puri has sung for his movie Tahalka (1992), which has the popular â€˜Shom Shom Shomâ€™!
Catchy one-word-title is becoming regular from Sameerâ€™s stable and the trend has started with â€˜Aaminâ€™ (Red). Now it is â€˜Mehfoozâ€™. Rely on Himesh Reshammiya to give a musical kick to the opening of a soundtrack and he delivers in his usual style with the formulaic singing and peppy music. Infused with miscellaneous pop arrangements and soothing strings music, the track continues with the same brand of music which brought the composer-singer to fame. Addictive value is once again missing and â€˜Mehfoozâ€™ wonâ€™t catch any fire, even with the intermittent music or the sample sounds of the screaming crowd. The remixed version is packed to hit the dance floors but isnâ€™t this kind of remixing getting monotonous now?
Melodious music makes apparition in the prelude of â€˜Dekhoon Tumhe To Pyaar Aayeâ€™ when suddenly Himesh Reshammiya grabs the mike and makes the rock star entry with the high pitch singing. The composer picks and chooses an above average tune from his tune bank but fails to give it full justice. Firstly, the tempo is set too high and secondly, the singing is not at par. Himesh Reshammiyaâ€™s loud voice simply does not fit although he seems to try his very best while Akriti Kakkar lacks the vibrant effect in her voice. Sadly, the packaging and polishing of the track have not been given importance and good interludes inserted will go unnoticed. Even the atmospheric sounds by the Gregorian chants wonâ€™t lift the track.
DJ Akbar Sami extends the prelude in his remixed version and adds his touch of funky beats, techno sounds and groovy pieces. â€˜Dekhoon Tumhe To Pyaar Aayeâ€™ is saved and gets a second life, which can safely hit the play list of night clubs.
Finally, after a very long time, Sonu Nigam sings under the baton of Himesh Reshammiya. The surprise is that he receives the best song of the soundtrack. â€˜Apneâ€™ is definitely what Reshammiya is capable of when he puts his soul in all the departments of his music. The understanding of the melody and the orchestration by the composer are outstanding. Jayesh Gandhi (another formidable singer) is excellent again in his supporting vocals. Sonu Nigam goes in the Rafiesque style and renders extremely well. His arrival has given the soundtrack a whole new dimension due to the quality of his voice and the impact on the well composed tune of the composer. The soulful music is complemented by the tabla and the Indian melody is reminiscent of old era music. Jaspinder Narula is heard after a very long period but only receives a few lines. Special mention to Sameer who writes from the heart for this track.
â€˜Tere Sangâ€™ is a short follow-up of â€˜Apneâ€™ with Sonu Nigam and Jaspinder Narula delivering only one stanza.
(Note that the last time Sonu Nigam was heard in a Reshammiya soundtrack was Anthony Kaun Hai in â€˜Bhangra Paaleâ€™, in which he shared the credits with Saru Maini and Jayesh Gandhi. Although the number was good in parts, it didnâ€™t make it to the charts. The last chartbusting song he has received from Himesh Reshammiya was way back in 2005 when the composer tried Indi-Pop in Maine Pyaar Kyun Kiyaâ€™s â€˜Just Chillâ€™.
Jaspinder Narula has completely disappeared from the playback singing scene in Bollywood since years. Producers and music directors have failed to take note of her extensive vocal ranges. From the happening â€˜Pyaar To Hona Hi Thaâ€™ (Pyaar To Hona Hi Tha) in 1998 to the emotional â€˜Sabki Baaratein Aayiâ€™ (Jaanam Samjha Karo) in 1999, nothing much happened after that.)
â€˜Ankh Vich Chehra Pyaar Kaâ€™ has the prelude similar to â€˜Jabse Aankh Ladiâ€™ from Dil Diya Hai but in a slower version. The must-have Punjabi number has Himesh Reshammiya, Shaan and Kunal Ganjawala all crooning together and are strictly okay. Amrita Kak is heard mostly in the background. On the composition side, Himesh Reshammiya adds the Punjabi flavor to the desired effect and succeeds. The remixed version by DJ Akhtar has the potential to hit the charts due to the excellent sound effects.
â€˜Bullâ€™s Eyeâ€™ is an inspirational track with excellent synthesizers work, rock guitar variations and drumsâ€™ demonstrations. â€˜You Gotta Survive, You Gotta Hit The Bullâ€™s Eyeâ€™ seem to be the motivational motto in the lyrics, which are mostly in English. Earl and Shaan provide the vocals and while Earl adds some rap portions in the middle, Shaan delivers some Hindi lines in the end. A fresh track from Himesh Reshammiya, after the stupid â€˜Loneliness Is Killing Everyoneâ€™ in Red.
Himesh Reshammiya comes with a soundtrack which has variety in terms of the compositions and genres tried. Stubbornly, the popular singer continues with the singing spree. The phase of over-exposure has been over-emphasized several times. It is clear that though the compositions are catchy and sometimes above-average, Himesh Reshammiya should restrict his singing to barely one song in his assignments.
As it happened a few times in the past soundtracks (36 China Town, Aap Ki Khatir, Rocky), the same voice, though exposed in various octaves, is not helping the songs. The singer in Himesh Reshammiya is not giving the composer the due to his own compositions as the novelty value has dropped down with the increasing number of songs releasing. Main side effects include the better tunes going widely unnoticed due to the wrong voice chosen or skipping the most suitable voice, all because of the frenzied singing obsession by the different parties concerned; music company, producer, director or the music director. The soundtrack of â€˜Apneâ€™ has a song for everyone and Himesh Reshammiya once again scores, thanks to Sonu Nigamâ€™s rendition for the title track.